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Gaud Sarang
Gaud Sarang is a raga in Hindustani classical music that combines characteristics of Sarang and the now extinct raga named Gaud. Unlike most other members of the Sarang family of ragas, Gaud Sarang is assigned to the Kalyan thaat rather than the usual Kafi. The Indian National Anthem Jana gana mana is sung in the raga Gaud Sarang. It is believed that the National Anthem of India is in raga Bilaval, but it isn't like that. There is a certain svara which is changes the whole raga of the Anthem. In the national anthem, the Madhyama svara is employed. Raga Bilaval doesn't have the svara of Madhyama (obviously, raga Bilaval is the raga of all Shuddha Svaras and no other types of svaras). But raga Gaud Sarang has the Madhyama svara. So from this, the National Anthem of India, Jana gana mana is in raga Gaud Sarang. Theory Arohana: Avarohana An Avarohana, Avarohanam or Avaroha, in the context of Indian classical music, is the descending scale of any raga.''Ragas in C ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kalyan (thaat)
Kalyan () is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga (more popularly known as Yaman) within this thaat. Description Kalyan thaat consists of an important group of evening ragas. Characterised by the teevra Madhyam, this thaat literally means good luck. Ragas of this thaat are considered to be a blessing-seeking and soothing. As a result, they are performed in the evening at the beginning of a concert. These ragas create a feeling of the unfolding of an evening. The Hindustani Classical Thaats are defined in their relation with the Bilawal Thaat, which has all shuddha(pure) notes. Ragas Ragas in Kalyan Thaat: Yaman, Bhupali, Hindol, Kedar, Shuddha Kalyan, Shyam Kalyan, Yaman Kalyan, Khem Kalyan, Savani Kalyan Chhayanat, Hameer, Gaud Sarang Gaud Sarang is a raga in Hindustani classical music that combines characteristics of Sarang and the now extinct raga named Gaud. Unlike most other members of t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kedar (raga)
Raga Kedar, also known as Kedara, is a Hindustani classical raga. Named after Lord Shiva, the raga occupies a high pedestal in Indian classical music. It is characterised by many melodious turns. This raga is the repetition of the swaras सा and म. It is generally accepted that it displays much thermal energy and is regarded as the Raagini of Raag Deepak. While preceding from Shuddha Madhyam (m) to Pancham (P), a touch of Gandhar (G) or a smooth passage from Gandhar (G) to Pancham (P) expressed as m G P is the more common way of instant raga manifestation. Origin The raga emerges from the Kalyan thaat. This raga is named after Lord Shiva and is loved by Lord Krishna. Lord Krishna played this raga on his flute and everyone in Gokul was mesmerized. Technical description The raga is of ''shaadava-sampurna'' nature, i.e., in its arohana (ascent), only six notes are used, and in avarohana (descent), all seven notes are used. In general, the progression of the raga is hig ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chhayanat (raga)
Chhayanat ("shadow or glimpse of ''Nat''") is a raga in Hindustani classical music. It is a relative of Nat Nat or NAT may refer to: Computing * Network address translation (NAT), in computer networking Organizations * National Actors Theatre, New York City, U.S. * National AIDS trust, a British charity * National Archives of Thailand * National As ..., an old raga that is rarely performed. Technical description Chhayanat is a very popular raag whereas its constituent "Chhaya" and "Nat" are rarely sung anymore. Its distinctive phrases P->R and P->S' set it apart from the related Kamod, Kedar, Alhaiya Bilawal and Hameer. Samay Chhayanat is an evening raag, and is sung during the second "prahar" 9PM-12AM. References Hindustani ragas {{India-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga
A ''raga'' or ''raag'' (; also ''raaga'' or ''ragam''; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. The ''rāga'' is a unique and central feature of the classical Indian music tradition, and as a result has no direct translation to concepts in classical European music. Each ''rāga'' is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "colour the mind" and affect the emotions of the audience. Each ''rāga'' provides the musician with a musical framework within which to improvise. Improvisation by the musician involves creating sequences of notes allowed by the ''rāga'' in keeping with rules specific to the ''rāga''. ''Rāga''s range from small ''rāga''s like Bahar (raga), Bahar and Shahana that are not much more than songs to big ''rāga''s like Malkauns, Darbari and Yaman (raga), Yaman, which have great scope for improvisation and for which performances ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindustani Classical Music
Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, ''shastriya sangeet'' (). It is played in instruments like the violin, sitar and sarod. Its origins from the 12th century CE, when it diverged from Carnatic music, the classical tradition in South India. Hindustani classical music arose in the Ganga-Jamuni Tehzeeb, a period of great influence of Perso-Arabic arts in the subcontinent, especially the Northern parts. This music combines the Indian classical music tradition with Perso-Arab musical knowledge, resulting in a unique tradition of gharana system of music education. History Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music.The central notion in both systems is that of a melodic musical mode or '' raga'', sung to a rhythmic cycle or '' tala''. It is melodic music, with no ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sarang (raga)
Brindavani Sarang or Brindabani Sarang, also known as raga Sarang, is a Hindustani classical raga. It is also called Vridavani Sarang. This raga falls under the category of Sarang ragas. Theory Brindabani Sarang is a Kafi thaat raga. It was created by Swami Haridas. The associated mythology being that he brought Lord Krishna to earth by singing this raga who took the form of an idol which can still be seen in Mathura. One of the famous Ragas for the Sarang , it is a popular of this family, together with Shuddha Sarang, and Madhyamad Sarang. The name Brindavani Sarang is a testament to its popularity in the region around Mathura. The notes ''Ga'' and ''Dha'' are not used in this raga. A characteristic of all Sarang is the way ''Rishab'' (Re) is sung. The Rishabh is not accorded embellishments, so it is sung without any ''meenḍ'' of adjacent ''swara''s neither with any ''andolan''. This preeminence of Re makes the ''swar'' the ''vadi'' of this Raga as also for all other ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sarang Ragas
Sarang ragang {{IPA-hns, ˈsärəŋg ˈrägäŋg (ISO 15919/IAST: ''Sāraṅg rāgaṅg'', Hindi and Marathi: सारंग रागांग, Bengali: সারং রাগাঙ্গ), and all other ragas falling under this category are ragas in the Hindustani Classical music. ''Ragang'' refers to a family of ragas, sharing a common melodic kernel. Other similar raga families are the Malhar family and the Kanada family. The Sarang ragas are sung in the time period of early afternoon. This includes many ragas originating from folk music and songs. The Sarang raga and all other ragas falling under in this type depict the scenes of the Indian historic past events, e.g. raga Brindabani Sarang depicting Vrindavan village or Lankadahan Sarang depicting Lord Hanuman singing this raga while burning Lanka with his tail, etc. History The main raga Sarang was created by Swami Haridas. The associated mythology being that he brought Lord Krishna to earth by singing this raga who too ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kafi (thaat)
Kafi () is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga ( Kharaharapriya) within this thaat. Description Kafi thaat makes use of the Komal Gandhara and Komal Nishad. So basically it adds Komal Gandhara to the Khamaj thaat. The Kafi raga is one of the oldest ragas and its intervals are described as the basic scale of the Natyashastra. Thus in ancient and medieval times, Kafi was considered as natural scale. Kafi is a late evening raga and said to convey the mood of springtime. Ragas Ragas in Kafi thaat include: * Abhogi * Bageshri * Bageshri-Ang Chandrakauns * Bahar * Barwa * Bhimpalasi * Brindavani Sarang * Dhani * Hanskinkini * Jog * Kafi * Megh * Malhar * Nayaki Kanada * Patdeep * Pilu * Jaijaiwanti Jaijaivanti or Jaijaiwanti is a Hindustani classical '' raga'' belonging to Khamaj Thaat. According to the Guru Granth Sahib, this ''raga'' is a mixture of two others: Bilaval and Sorath. The ''raga'' app ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jana Gana Mana
"" (Sanskrit: जन गण मन) is the national anthem of the Republic of India. It was originally composed as '' Bharoto Bhagyo Bidhata'' in Bengali by polymath Rabindranath Tagore. The first stanza of the song ''Bharoto Bhagyo Bidhata'' was adopted by the Constituent Assembly of India as the National Anthem on 24 January 1950. Quote: "Adopted by the Constituent Assembly as the national anthem of India on January 24, 1950, the song Jana-gana-mana, in its Hindi version of the first stanza, was originally composed in Bengali by poet Rabindranath Tagore" A formal rendition of the national anthem takes approximately 52 seconds. A shortened version consisting of the first and last lines (and taking about 20 seconds to play) is also staged occasionally. It was first publicly sung on 27 December 1911 at the Calcutta (now Kolkata) Session of the Indian National Congress. History The National Anthem of India is titled "Jana Gana Mana". The song was originally composed in Ben ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bilaval
Bilaval or Bilawal () is a raga and the basis for the eponymous ''thaat'' (musical mode) in Hindustani classical music. Raga Bilaval is named after Veraval, Gujarat. Bilaval has been the standard for North Indian music since the early 19th century. Its tonal relationships are comparable to the Western music C major scale. Bilaval appears in the '' Ragamala'' as a ragini of Bhairav but today it is the head of the Bilaval thaat. The Ragamala names Bilaval as a Putra (son) of Bhairav but no relationship between these two ragas are made today. Bilaval is a morning raga that is intended to be sung with a feeling of deep devotion and repose and is often performed during the hot months. The Bilaval is equivalent to the Carnatic raga melakarta, Sankarabharanam, as well as the Western Ionian mode (major scale), and contains the notes S R G M P D N S'. The pitches of Bilaval thaat are all ' (natural). Flat () or sharp () pitches always occur regarding the interval pattern in Bilaval ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Svara
Svara or swara (Devanagari: स्वर, generally pronounced as ''swar'') is a Sanskrit word that connotes simultaneously a breath, a vowel, the sound of a musical note corresponding to its name, and the successive steps of the octave or ''saptaka''. More comprehensively, it is the ancient Indian concept about the complete dimension of musical pitch. Most of the time a ''svara'' is identified as both musical note and tone, but a tone is a precise substitute for sur, related to tunefulness. Traditionally, Indians have just seven ''svara''s/notes with short names, e.g. saa, re/ri, ga, ma, pa, dha, ni which Indian musicians collectively designate as ''saptak'' or ''saptaka''. It is one of the reasons why ''svara'' is considered a symbolic expression for the number seven. Origins and history Etymology The word ''swara'' or ''svara'' (Sanskrit: स्वर) is derived from the root ''svr'' which means "to sound". To be precise, the ''svara'' is defined in the Sanskrit ''nirukt ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madhyama (music)
Madhyam is the fourth svara from the seven svaras of Hindustani music and Carnatic music. This article is written from the Hindustani perspective. Madhyam is the long form of the syllable म. For simplicity in pronouncing while singing the syllable, Madhyam is pronounced as Ma (notation - M). It is also called as मध्यम in the Devanagri script. Details The following is the information about Madhyam and its importance in Indian classical music : * Madhyam is the fourth svara in an octave or Saptak. * Ma is the immediate next svara of Gandhar (Ga). * The svara of Madhyam is and . In fact Madhyam is the only svara in the Saptak. * It is said that Shadja is the basic svara from which all the other six svaras are produced. Breaking the word Shadja yields Shad And Ja. It means that Shad is six and ja is 'giving birth' in Marathi. So basically the translation is : षड् - 6, ज -जन्म . Therefore, it collectively means giving birth to the other six notes of th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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